Boston Symphony Orchestra concert programs, Summer

Transcrição

*& *
i
m
SI*
*E&
&h-
The
for
TANGLEWOOD MUSIC CENTER is maintained
advanced study
in
music and sponsored by the
BOSTON SYMPHONY ORCHESTRA.
Tanglew®d
Music
Center
BOSTON SYMPHONY ORCHESTRA
Seiji
Ozawa, Music Director
Kenneth Haas, Managing
Director
Daniel R. Gustin, Manager of Tanglewood
Josiah Stevenson, Director of Development
TANGLEWOOD MUSIC CENTER
Leon
Fleisher, Artistic Director
Gilbert Kalish, Chairman of the Faculty,
Charles F. Culpeper Foundation Chair
Richard Ortner, Administrator
Julie H. Diaz, Director of Tanglewood Development
James
E.
Whitaker, Chief Coordinator
Harry Shapiro, Orchestra Manager
Tanglewood on Parade
Tuesday, August
1,
1995
Tanglew(®d
Music
Center
For the benefit of the Tanglewood Music Center
Open
5:15
2:00
Gates
2:00
Boston University
Tanglewood Institute:
Alpine Horn Demonstation
(Lawn near Chamber Music
Hall;
inside in case of rain)
Brass Fanfares at
Main Gate Drive
(Rear of Shed in
5:45
(Lawn near Koussevitzky Music
Shed, weather permitting)
case of rain)
2:30
Boston University
Tanglewood Institute:
Chamber Music Concert
(Chamber Music Hall)
2:30
6:00
Ozawa
Tanglewood Music Center
Fellowship Wind Music
(Tanglewood Manor House
porch; Chamber Music Hall
.
Fellowship Chamber Music
(Seiji
3:00
Balloon Ascension
in case of rain)
Hall)
Fellowship Vocal Program
7:00
Berkshire Highlanders
(Lion Gate; rear of
Shed
Cabaret Concert
in case of rain)
(Theatre-Concert Hall)
7:45
3:45
Boston University
Tanglewood Institute
Young Artists Orchestra
and Chorus
(Koussevitzky Music Shed)
Hot
air
Fanfares
8:30
Gala Concert
balloon courtesy of Mr. and Mrs. Charles Joseph of Lebanon,
Alpine horns courtesy of
Artillery
Scottish
BSO horn
player Daniel Katzen
and cannon supplied by Eastover, Inc.
folk music courtesy of the Berkshire Highlanders
Fireworks over the Stockbrige Bowl following the Gala Concert
New Jersey
A Message
Welcome
to
from
Seiji
Ozawa
Tanglewood on Parade
annual celebration of the
—our
many wonders
where young musicians
of
Tanglewood and the Tanglewood Music
Center. This
is
only our second
new Leonard
the
Bernstein
and
Seiji
made this special new
Ozawa Hall your own. As
a very special place in
1
many times last summer, this wondernew "room for music" is not mine, but
whom it was built
young musicians of the Tanglewood
Music Center and to you.
arrived here in 1960.
we
the
that
—
porting the important
tional
work
are sup-
of these excep-
young people. Each year generous
patrons provide financial support in the
my
heart since
Making others
I
feel
welcome here has become an important
part of my life. For two months each year
belongs to those for
By joining us here today you
TMC
perform here,
The Tanglewood Music Center has held
said
ful
who
by the
and the unique Tanglewood landscape.
Campus, but
already you have
place
Boston Symphony Orchestra, the
Faculty, the guest artists
summer on
are inspired
and work together. This is the spirit
welcomed me when 1 first arrived, and
which I hope to pass on to others. Just as I
live
found
a
home
in
music
at
Tanglewood, so
do hundreds of aspiring young
come
here each summer.
helping to
make
I
artists
thank you
who
for
this possible.
form of Fellowships, Scholarships, and
Faculty Chairs that
maintain the
this help,
make
it
possible to
TMC year after year.
Without
and the support of music
like yourselves, the
lovers
Tanglewood Music
Center could not survive.
Seiji
Another kind of help comes
to
us
from Boston University. Their wonderful
Tanglewood
Institute helps us offer similar
advanced training
to
musicians of high
school age. Their participation today celebrates thirty years of partnership with the
Boston Symphony,
the nation's best
thirty years of
young
artists
helping
grow.
Every ticket sold today helps us con-
and
young musicians who
tinue to offer tuition-free Fellowships
other financial aid to
have worked very hard
to earn a place in
these programs. This freedom from financial
concern allows them to focus
attention
on music-making. There
all
is
their
no
other place in the world like Tanglewood,
Ozawa
The Tanglewood Music Center
Tanglewood provides
much more
by the
setting for the concerts offered
Boston Symphony Orchestra.
begin, but
than a
that
also the
It is
of the Tanglewood Music Center, one
site
it
which made such an impression
has remained the traditional opening
music each summer. The
vitzky's pride
and joy
TMC was
for the rest of his
of the world's most influential centers for
He assembled an
advanced musical study and which has
composition, operatic and choral
Symphony
been maintained by the Boston
With Leon
in his eleventh year as
its
Fleisher
activities,
and instrumental performance; he himself
The emphasis
1940 under the leadership of
Serge Koussevitzky.
now
nique,
Artistic Director,
at the
Tanglewood Music
Center has always been not on sheer
which students
learn with their regu-
lar private teachers,
provide a wide range of specialized training
Although the program has changed
for
young musicians from
all
In 1994, the
new
entered a
Ozawa
stage
era with the
which
Hall,
its
TMC
Green Room,
facilities,
library,
opening of Seiji
—along with
back-
orchestra
and instrument storage space
all
located in the Leonard Bernstein Performers
Pavilion
—now
serves as the focal point of
new Leonard
the
Bernstein
Campus, which
in
respects over the years, the emphasis
on ensemble performance,
over the world.
tech-
but on making music.
the Tanglewood Music Center continues to
and experience
life.
extraordinary faculty in
taught the most gifted conductors.
Orchestra since the Music Center's estab-
lishment in
Kousse-
learning
chamber
music, vocal music, and the orchestral
ture with talented fellow musicians
some
is still
litera-
under
the coaching of a master-musician-teacher.
Many
TMC recitals;
each
brings exciting performances
young
way are
summer
of the pieces learned this
formed in
by
per-
talented
professionals beginning a love affair
with a great piece of music.
encompasses the Leon Fleisher Carriage
The Tanglewood Music Center Orchestra
House with chamber music coaching studios and offices; the Aaron Copland Library,
performs weekly in concerts covering the
also
in a cottage adjacent to the refurbished carriage
house; a
tional
new
Rehearsal Hall; and addi-
coaching studios throughout the cam-
pus.
With
Hall
and the opening of the Leonard
the inauguration of
Campus
Bernstein
last
Seiji
summer,
all
Ozawa
involved
with the Tanglewood Music Center look
toward the twenty-first century newly
inspired, with a
renewed sense of purpose.
The school opened formally on July
1940, with speeches
ing to the
"If
the
now
first
in the
in
Europe, said,
a time to speak of music,
New World"
—and music,
performance of Randall Thompson's
Alleluia for
unaccompanied chorus, which
was written
less
was
8,
Koussevitzky, allud-
war then raging
ever there
it is
—
for the
ceremony and
arrived
than an hour before the event was to
Serge Koussevitzky
entire repertory
under the direction of
stu-
dent conductors as well as members of the
TMC
at
faculty
and guest conductors present
Tanglewood
quality of the
for just eight
TMC
all
concerts.
The
It
for Singers. In
programs
age,
regularly
would be impossible
the distinguished musicians
performance, and the Phyllis Curtin
Seminar
at
Tanglewood were extended
who
when
careers as instrumentalists, singers, con-
grams that
noting that
20%
of the
major orchestras in
it is
members
its
rising.
The Fellowship
music and
who
are
who
their training in
awarded fellowships
underwrite their expenses.
It
to
includes
courses of study for instrumentalists,
singers,
and composers. Other courses of
instruction include the
from which members
Conducting
and ensemble
pub-
TMC Artistic Director Leon Flasher working with
and composers.
Today, alumni of the Tanglewood Music
Center play a
vital role in
of the nation.
Tanglewood and the Tangle-
wood Music
the
the musical
Center, projects with
was involved
life
which
until his
become a fitting shrine to his
embodiment of the vital,
humanistic tradition that was his legacy.
At the same time, the Tanglewood Music
Center maintains its commitment to the
death, have
memory,
a living
future as
one of the world's most impor-
tant training
Class,
are selected for
ers
Serge Koussevitzky
Program provides a demanding schedule of
study and performance for students
have completed most of
offer individual
with eleven separate programs for perform-
the Tanglewood Music Center, each with
appropriate subdivisions.
sponsors pro-
of the
Today there are three principal programs
at
Institute,
instruction to talented younger musicians,
students at the Tanglewood Music Center,
with that figure constantly
Boston University, through
Tanglewood
worth
country have been
this
for the Arts to
become involved with the Boston Symphony Orchestra's activities in the Berkshires. Today,
and composers. But
to
Erich Leinsdorf invited the
Boston University School
have been part of this annual corps of
young people on the verge of professional
ductors,
1966, educational
younger students, mostly of high-school
Orchestra, assembled
weeks each summer,
astonishes visitors.
to list
BSO
to lead
lic
grounds
for the
composers,
conductors, instrumentalists, and vocalists
of tomorrow.
Tanglewood Music Center Orchestra
Gala Concert
TANGLEWOOD ON PARADE
Tanglew®d
Tuesday, August
Music
Center
1, at
SPONSORED BY
8:30
FILENE'S
For the benefit of the Tanglewood Music Center
TANGLEWOOD MUSIC CENTER ORCHESTRA
OZAWA, LEON FLEISHER, JOHN WILLIAMS,
and KEITH LOCKHART, conductors
SEIJI
BARBARA BONNEY,
soprano
DVORAK
Carnival Overture,
Opus 92
TANGLEWOOD MUSIC CENTER ORCHESTRA,
KEITH LOCKHART conducting
MUSSORGSKY/RAVEL
Pictures at
an Exhibition
Promenade
Gnomus
Promenade
II
vecchio castello
—
Promenade —
Promenade
Tuileries
Bydlo
Ballet of
Chicks in their Shells
Samuel Goldenberg and Schmuyle
The Market at Limoges
Catacombae. Sepulcrum Romanum
Con mortuis in lingua mortua
The Hut on Chicken Legs (Baba-Yaga)
The Great Gate of Kiev
TANGLEWOOD MUSIC CENTER ORCHESTRA,
LEON FLEISHER conducting
INTERMISSION
LEHAR
J.
STRAUSS
"Vilja-Lied,"
II
from The Merry Widow
"Mein Herr Marquis," from Die Fledermaus
BARBARA BONNEY,
soprano
BOSTON SYMPHONY ORCHESTRA,
JOHN WILLIAMS conducting
TCHAIKOVSKY
Ceremonial Overture, 1812
TANGLEWOOD MUSIC CENTER ORCHESTRA
BOSTON SYMPHONY ORCHESTRA,
SEIJI OZAWA conducting
and
Baldwin piano
Notes
when he was
In 1891,
fifty
years old,
Antonin Dvorak (1841-1904) composed
of overtures conceived as a set with the overall
Opus
title
91. Later, however, he reconsidered, at least to
a triptych
and Love, planned as his
the extent of giving the three works
Nature,
Life,
and opus numbers. And thus they are known separately today, as In Nature's
Realm (Opus 91), Carnival (Opus 92), and Othello (Opus 93). Of these, only the Carnival
Overture, filled with gaiety and high spirits, is heard with any frequency.
Dvorak's conception of Nature is central to these scores. As his biographer Otakar
Sourek explained, the composer was a deeply religious man who saw in Nature the work of
a Divine Will, yet he had a tinge of pantheism that also saw it as the giver of life in ways
that are both beautiful and ugly, thus leading either to joy or tragedy. Dvorak conceived a
"Nature" theme for the first of the overtures and later reused it in all the others. As the original title of the trilogy suggests, the opening overture showed the composer's delight in natural surroundings; it is filled with birdsong and other musical nature-painting. Then Carnival
epitomizes the bustling world of human contact, filled with jollity, dancing, and merrymakseparate
titles
ing.
Though regarded as little more than a dilettante by composers of far greater polish, Modest
Mussorgsky (1839-1881) had a burning genius that at times conquered both his lack of
technique and a sad addiction to the bottle. His genius expressed itself most directly in
opera; few of his purely instrumental works are ever performed, except for Pictures at an
and which represents one of the great achievements of romantic keyboard music and of Russian nationalism.
The exhibition in question was a real one, a memorial showing of works by a talented
architect named Victor Hartman, who died at the age of forty in July 1873. Both an admirer
and a close friend of the artist, Mussorgsky himself wrote an obituary describing Hartman's
Exhibition, written originally for piano solo,
first
important work, the reconstruction of several buildings for an All-Russian Manufactur-
A
work was put together in St. Petersburg,
mid-February 1874. The show included both architectural work and a
variety of drawings and paintings inspired by the activities of everyday life and different
kinds of people. Not surprisingly given his friendship with the artist, Mussorgsky's visit to
ing Exhibition.
where
it
opened
special exhibition of Hartman's
in
on him; soon he was composing at a terrific pace, finan Exhibition by June 22. The suite was immediately hailed by the composer's friends, but few people played it due to its fiendish difficulties. It was not even published until five years after the composer's death, only becoming
famous and popular in the brilliant orchestral guise created by Maurice Ravel at the suggestion of conductor and legendary BSO music director Serge Koussevitzky, who led the
American premiere with the Boston Symphony Orchestra in November 1924.
The various "pictures" are linked here and there by references to the opening Promenade, which, as Mussorgsky observed, was his own self-portrait as he moved from picture to
picture. In Hartman's original pictures, The Gnome was a grotesque drawing of a nutcracker. The Old Castle depicted a landscape of markedly Italianate cast with a troubador singing
the exhibition
ishing a
his
lay.
scene,
had
new work
a powerful effect
for
piano
In Ravel's version there
showed children
that begins the scene
—
Pictures at
is
an extended solo
for
saxophone. Tuileries, a Parisian
quarreling at play, an image perfectly captured in the taunting figure
and returns again and again throughout. Bydlo
is
the Polish
word
for
Hartman's picture showed a heavy ox-cart lumbering along. The unlikely sounding
Unhatched Chicks consisted of designs for a dance performance in which the
dancers wore egg-shaped costumes. Mussorgsky himself owned Hartman's drawings (two
separate images, not one) of a rich Jew and a poor Jew; he translated these into a single
"cattle";
Ballet of
movement
contrasting the arrogance of wealth to the cringing obsequiousness of poverty,
which he called Samuel Goldenburg and Schmuyle.
Market at Limoges becomes a brilliant scherzo, followed
Hartman's lively drawing of
ing scene of the
Catacombs (A Roman Sepulchre)
at
in Paris.
and
The
once by the powerful contrastThe mood is continued in the
passage headed Con mortuis in lingua morta ("With the dead in a dead language"), in
which Mussorgsky himself becomes our guide through the city of the dead with a ghostly
version of his Promenade. The Hut on Fowl's Legs (Baba-Yaga) evokes the fearsome witch
of Russian fairy tales, whose wild ride brings us to the powerful finale, The Bogatyr Gate (at
Kiev, the Ancient Capital), described in the Russian critic Vladimir Stasov's review of the
exhibit as "unusually original." Mussorgsky filled his musical image with the perpetual ringing of bells large and small, recreating the sounds heard around a Russian public monument. Ravel has seconded him in this, capping off the score with sonorous fireworks.
About the middle
of the nineteenth century, traditions of light, popular musical theater
By the 1870s
word "operetta" had come to describe full-length works in this style, combining the spoken word with musical numbers (sometimes quite as challenging and elaborate as those of
any opera) all shaped with the aim of entertaining a large and diverse audience, with cheerfully unlikely stories of romantic difficulties that always seemed to be solvable with the aid of
a sensuous waltz. Vienna was one of the cultural centers that took the operetta most warmly
to its heart. The last third of the nineteenth century has come to be known as the "Golden
Age" of Viennese operetta, embodying the work of such composers as Franz von Suppe,
Karl Millocker, and, especially, Johann Strauss the younger, whose 1876 operetta Die
arose in quick succession in virtually every country with a theatrical tradition.
the
Fledermaus has long epitomized the whole tradition. After the turn of the century, the
more emphasis on solo songs written for
on ensemble numbers. This era, during which Franz Lehar, Oskar
Straus, Leo Fall, and Emmerich Kalman reigned, is now generally called the "Silver Age" of
the tradition. And its most captivating and best-loved work was Lehar's first great success,
The Merry Widow of 1905.
The Merry Widow proved to be the biggest success in the history of the Viennese theater; within a year it had gone around the world, and was welcomed everywhere. The plot
tells of two people who missed a chance to marry once, but now that the woman, Hanna
Glawari, has been widowed
and left immensely rich her former suitor, Count Danilo,
operetta tradition continued in Vienna, but with
specific star singers, less
—
cannot bring himself to propose again,
Paris, are natives
Balkans).
—
much
as
he loves
her.
Both characters,
now
living in
of the imaginary country of Pontevedrino (some uncertain place in the
The second
act takes place in
Hanna's home, where she
is
giving a lavish party for
song from her
country about the love of a young huntsman for a forest-sprite. One of the best-known
soprano arias from the operetta tradition, this plays no role in the plot but to remind us that
Hanna and Danilo are in a similar emotional position.
a national holiday. To entertain her guests, she sings "ViZja," supposedly a folk
The Merry Widow, Act II: "Vilja-Lied"
Let's waken native memories, and sing
the well-known tale of a fairy
known
at
home
as Vilja.
Once there lived Vilja, a fair forest-sprite; a hunter saw her on a crag. He'd never
seen such a sight; he looked and looked, his senses overwhelmed, and began sighing for
her: "Vilja, o Vilja, you maid of the woods; take me
let me be your lover. Vilja, o Vilja,
what have you done to me? I must have your love."
The wood-maid stretched out her hand to him, and drew him up to her craggy
home; never had the boy, his senses now gone, been loved and kissed by such a creature. Having had her fill of kissing, she disappeared as she'd come. The poor boy can still
be heard, calling to her: "Vilja, o Vilja ..."
—
most popular operetta, Die Fledermaus ("The Bat"), was based on
which a man gets revenge for having been deserted by his best friend,
Eisenstein, after a costume ball, while drunk and wearing a bat costume, being left to walk
home in broad daylight and become a laughing stock of the town. He organizes a party at
the home of a rich and eccentric Russian Prince, arranging for Eisenstein to be there in disguise, and for Eisenstein to be unknowingly seduced by his own wife, Rosalinde, who is herself disguised as a Hungarian Countess. The Eisensteins' maid, Adele, is also present, in the
Johann
Strauss's
a French farce in
company
of her
sister,
member
a
of the Ballet,
which has been
has secured an appropriate dress for the occasion.
When
invited to the party; Adele
Eisenstein seems to recognize her,
Adele takes the opportunity to make fun of her employer with her "laughing song"
could such an obviously well-bred figure as herself possibly be a serving-maid?
Die Fledermaus, Act
My dear Marquis,
a
II:
man
closely at people. Notice
—
"Mein Herr Marquis"
you should really know
like
my fine
surely unlike a lady's maid.
me
laugh
if I
.
hand;
my small
better; I'd advise
foot;
you
is
how
look more
and bearing
to
my speech; my waist
You must admit your mistake
:
quite comic; please forgive
.
.
How comic you are, dear Marquis. Note my fine Grecian profile; or if my face isn't
enough, note my figure. Look through your lorgnette, see how I dress. It seems to me
your love for the maid has blurred your vision—you see her everywhere; how ridiculous!
The whole thing is too funny; please forgive me if I laugh
.
In 1880, Pyotr Ilyich
.
.
Tchaikovsky (1840-1893) promised Nikolai Rubinstein that he
would compose an occasional piece to celebrate the Silver Jubilee of Tsar Alexander II, the
"Tsar-Liberator," who had ascended the throne in 1855 and six years later issued the Edict
of Emancipation that freed the serfs,
who comprised
one-third of Russia's population.
During the summer and early fall of 1880 Tchaikovsky worked on the celebratory piece
along with another work, composed purely for his own musical satisfaction, his Serenade for
Strings, Opus 48. The former, finished on October 18, was a single-movement orchestral
work that he labeled an overture with the formal title The Year 1812.
To any Russian the date 1812 instantly conjured up the image of Napoleon's invasion of
Russia, his conquest of Moscow, and his devastating, ignominious retreat with only a tiny
percentage of his army, most of which had been destroyed by extremes of winter weather
and lack of food. Tchaikovsky composed his musical tribute to the Russian victory essentially as a potboiler, aimed at popular success. Without question he achieved his goal. The quotation of familiar tunes (familiar, at any rate, to his Russian audience in the 1880s) guaranteed a patriotic response as it reminded them of the historical events: the hymn "God
Preserve the Tsar," which opens the piece; the appearance of the "Marseillaise " symbolizing
the invading French army; the musical battle between the two sides and the gradual overwhelming of the "Marseillaise'''' by the Russian music; and finally the Imperial anthem, reinforced by bells and cannon— all of this has made the overture a popular showpiece from its
very
first
performance.
—Notes by Steven Ledbetter
Artists
Seiji
Ozawa
is
Music Director of the Boston Symphony Orchestra.
Pianist/conductor/teacher Leon Fleisher
Artistic Director of the
John Williams
at
is
is
now
in his eleventh year as
Tanglewood Music Center.
Laureate Conductor of the Boston Pops and Artist-in-Residence
Tanglewood.
Conductor of the Boston Pops Orchestra.
Keith Lockhart
is
A guest
member
faculty
Barbara Bonney
with orchestra.
is
at the
acclaimed for her appearances in
this
summer, soprano
opera, and
recital, in
Tanglewood Music Center 1995 Fellowship Program
Yonah
Violins
Fumino Ando, Kanagawa
Prefecture,
Japan
Zur, Jerusalem, Israel
Lola and Edwin Jaffe Fellowship
Renee Rapaporte Fellowship
Marcus Barcham-Stevens, Cambridgeshire,
England
English- Speaking
Union Fellowship
Violas
Kira Blumberg,
Hyde
Park,
New York
and Nancy Straus Fellowship
Matthew Dane, Veazie, Maine
Jerry
Heather
Bixler,
Branson, Missouri
and Bernice Krupp Fellowship
liana Blumberg, El Cerrito, California
Philip
Luke B. Hancock Foundation Fellowship
Eva Cappelletti, Athens, Ohio
Leo
Beranek Fellowship
L.
Scott Dickinson, Glasgow, Scotland
and Juliette Brandi Fellowship
Frederic
Greenbaum, Amherst, Massachusetts
Jessie-Leah
Lucy Lowell Fellowship
Juliet Esselborn Geier
Ellen Chen, Arlington, Texas
Alexander Gurevich,
Gerald Gelbloom Memorial Fellowship
Glen Cherry, Vermillion, South Dakota
Mr. and Mrs. William C. Rousseau Fellowship
Clinton Dewing, Newton, Massachusetts
Harry
Marion Dubbs
&
/Brookline Youth Concerts Fellowship
Franziska Fruh, Petersberg,
Germany
Klaus and Bobbie Hallig Fellowship
Shigetoshi Furuta, Fukuoka, Japan
Boston Symphony Orchestra Fellowship
Candace Guirao, San Francisco, California
Northern California Fund Fellowship
Erin Hall, Nashville, Tennessee
jane and Otto Morningstar Fellowship
Heleen Hulst, Amsterdam,
Ikehara, Kainan-shi,
Vrvienne Kim, Rancho Palos Verde, California
W Bancroft Fellowship
New York, New York
Charles E. Culpeper Foundation Fellowship
Linwood, Massachusetts
William Kroll Memorial Fellowship
Ioana Missits, Cluj, Romania
Ruth and Alan Sagner Fellowship
Christopher Neal, Buffalo,
New York
& Mrs. John C.
Haas Fellowship
Susanna Perry, Cambridge, Massachusetts
Carolyn and George Rowland Fellowship
in Honor of Eleanor Panasevich
Evangeline Peters,
New Albany,
Indiana
William R. Housholder Fellowship
Anna
Presler, Berkeley, California
Harold and Thelma Fisher Fellowship
Erika Sato, Portland,
Oregon
Clowes Fund Fellowship
Ayako Sugaya, Kanagawa, Japan
Moms A.
Biliana
Schapiro Fellowship
Voutchkova,
Ann
Arbor, Michigan
Fellowship
Charles Noble, Puyallup, Washington
Harold G.
Edmundo
Colt,
Memorial Fellowship
Jr.,
Ramirez, Santo Domingo,
Heredia, Costa Rica
and Mrs. David
Mr.
B. Arnold,
Jr.,
Fellowship
Louisa Sarkissian, Erevan, Armenia
Friends of Armenian Culture Society Fellowship
Chi-Chuan Teng,
Taipei,
Taiwan
Stanley Chappie Fellowship
Sofia, Bulgaria
Max Winder Violin
Fellowship
Cellos
Nathaniel Chaitkin,
New York, New York
and Muriel K. Pokross Fellowship
Louise Dubin, New York, New York
Stephen and Persis Morris Fellowship
Mr.
Anonymous
David
Doosook Kim, Tempe, Arizona
Elise Kuder,
Jessica Nance,
Wakayama, Japan
Beth Kipper,
Fellowship
Shanda Lowery, Davis, California
Arthur Fiedler/Leo Wasserman Fellowship
New York, New York
James A. Macdonald Foundation Fellowship
Velmans Foundation Fellowship
Jane
Ukraine
Norman Cahners
Jessica Troy,
The Netherlands
Emi
Helene R. and
Memorial Fellowship
Kiev,
Ruth
R.
S.
Morse Fellowship
Alexander Ezerman, Willis ton, Vermont
Mr. and Mrs. Walter Loeb Fellowship
Emily Sue-Jung Koo, Washington,
District of Columbia
Naomi and Philip Kruvant Fellowship
Nina Lee, Chesterfield, Missouri
Harry and Mildred Remis Fellowship
Jason
McComb,
Vancouver, Washington
Darling Family Fellowship
Alberto Parrini, Padova, Italy
Olivetti
Foundation Fellowship
Eric Sung, Agoura, California
William Randolph Hearst Foundation Fellowship
Rupert Thompson, Setauket,
New York
Mary Barger Fellowship
Xiao-Jun Wang, China
J.P and
Starr Foundation Fellowship
Benjamin Wolff,
New York, New York
Charlotte Palmer Phillips Foundation Fellowship
Amos
Mr.
Yang, San Francisco, California
and Mrs. Robert
E.
Remis Fellowship
Basses
John
New York
Oceanside,
Grillo,
Ryan Kamm, Raleigh, North Carolina
Rita Meyer Fellowship
Siobhan Kelleher, Norwell, Massachusetts
BayBanks Fellowship
Charles
Heather
L.
Read Foundation Fellowship
Miller, Philadelphia,
Pennsylvania
Koussevitsky Music Foundation Fellowship
Robert Rohwer, Lyndhurst, Ohio
Fdwin and Elaine London Family Fund
Flute
Lisa-Maree Amos, West Hampstead,
Patricia
Plum Wylde Fellowship
Brookline, Massachusetts
Country Curtains Fellowship
William Bomar, Grosse Pointe Park, Michigan
Nat Cole Memorial Fellowship
Joshua Garrett, New York, New York
William F and Juliana
Thompson Fellowship
Neil Kimel, Milwaukee, Wisconsin
Edward G. Shufro Fellowship
Nathan Pawelek, Sioux Falls, South Dakota
Gilbert Cohen Memorial Fellowship
W
Hannah and Raymond
Schneider Fellowship
Ann
Housatonic Curtain Company Fellowship
Trumpets
Chris Fensom, Regina, Saskatchewan, Canada
Aso
Tavitian Fellowship
Kevin Finamore, Charlotte, North Carolina
Koaki Fujimoto, Aichi, Japan
Arbor, Michigan
Miriam and Sidney Stoneman Fellowship
Armando Ghitalla Fellowship
Gary Peterson, Boston, Massachusetts
Andre Come Memorial Fellowship
Christopher
Still,
Rosamond
Oboe
Eugene Alexander
Highland Park,
New Jersey
Wynton Marsalis
Igor Leschishin, Lvov, Ukraine
Gillet
Bayport,
New York
Sturgis Brooks Fellowship
Richard Watson, Revere, Massachusetts
Izotov,
Geraldine R. Dodge Foundation Fellowship
Fernand
New York
Joanne Towler, Leeds, West Yorkshire, England
London, England
Susan Kaplan/Ami Trauber Fellowship
Augustus Thorndike Fellowship
Fellowship
Tenor Trombones
Eran Levi, Naharia,
Memorial Fellowship
Kathy Lord, Springfield, Pennsylvania
Daphne Brooks Prout Fellowship
Rebecca Schweigert, Gaylord, Michigan
Moshe
Christopher Caudill, The Woodlands, Texas
Judy Gardiner Fellowship
Stiliana Nikolova, Sofia, Bulgaria
Christina Jennings,
New York, New York
Sherman Walt Fellowship
Sarah Dussing, Clarence,
Ginger and George Elvin Fellowship
Ann Bobo,
Marshall N. Fulton Memorial Fellowship
Dr.
Douglas Quint,
Horns
New York
Pamela Lopes, Brooklyn,
Kenneth Moses, Boerne, Texas
Red Lion Inn Fellowship
Shinyee Na, Taipei, Taiwan
Israel
Athena and James Garivaltis Fellowship
Marcos Max Vails Martin, Sao Bernardo
do Campo,
Omar del
Brazil
Carlo Fellowship
Jarod Vermette, Boston, Massachusetts
Zohar, Tel Aviv, Israel
Bass Trombone
Clarinets
Scott Thornton, Dallas, Texas
Michael Bepko, Houston, Texas
Albert L.
Company Fellowship
Jocelyn Langworthy, Woodbury, Minnesota
and Elizabeth
P.
Nickerson Fellowship
Berkshire Life Insurance
Tuba
Christopher Hall, Wheaton,
Bessie Pappas Fellowship
Joshua Ranz, Hastings-on-Hudson,
New York
Surdna Foundation Fellowship
Christopher Zello, Waterford, Pennsylvania
Jeanne and Andrall Pearson Fellowship
Timpani/Percussion
Edward
Atkatz, Fresh
Frederick
David
Bass Clarinet
Gary Gorczyca, Waltham, Massachusetts
Mrs. Harris Fahnestock Fellowship
Meadows,
Shively,
La Jolla,
California
Bristol-Myers Squibb Foundation Fellowship
John
Tanzer, Bedford, Massachusetts
Frelinghuysen Foundation Fellowship
IBM Matching Grant
E.
Lee Foundation
Fellowship
Sophie Dansereau, Tracy, PQ., Canada
Glenn Einschlag, Los Altos Hills,
Robert G. McClellan.Jr., and
New York
W Richmond Foundation Fellowship
Barbara Lee/Raymond
Bassoon/Contrabassoon
Illinois
Caroline Grosvenor Congdon Memorial Fellowship
California
Peter Wilson,
Upper Darby, Pennsylvania
Mr. and Mrs. Richard M. Eraser Fellowship
William Wozniak, Toledo, Ohio
Wilhelmina Sandwen Fellowship
Fellowship
m
!
James Wyatt, Princeton, Kentucky
Mr. and Mrs. Allen 2. Kluchman Fellowship
Laurel Trio
Dena
Levine,
New York, New York
Harps
Katerina Englichova, Prague, Czech Republic
Kathleen Hall Banks Fellowship
Elisabeth Remy, Brewster, Massachusetts
John and Susanne Grandin Fellowship
Sunghae Anna Lim, New York, New York
Amy Levine
Tsang,
New York, New York
Piano/Keyboard
Voice
Bernadette Balkus, Sydney, Australia
Anna-Maria Bogner, Munchen, Germany
Edward G. Shufro Fellowship
Billy Joel
Keyboard Fellowship
Lisa Graf,
Gursky, Holon, Israel
Israel
Felicia
Montealegre Bernstein Fellowship
Paige Roberts Hoffman,
New York, New York
Baldwin Piano and Organ Company Fellowship
Claudio Martinez-Mehner Madrid,
Spam
Peggy Rockefeller Fellowship
Naomi
Niskala, Rochester,
New York
Hiroko Sasaki, Tsu-City, Japan
Amory Thorndike
Castle,
Fellowship
Jeff Tomlinson, Manheim, Pennsylvania
Marilyn Brachman Hoffman Fellowship
Maine
Nancy Lurie Marks Fellowship
Paul Guttry, Belmont, Massachusetts
Tappan Dixey Brooks Fellowship
Scott Hogsed, Atlanta, Georgia
Gloria Narramore
Funice Cohen Fellowship
R.
New
Marion Callanan Memorial Fellowship
Alexandra Sari Gruber, La Crescenta, California
Elizabeth Kennedy,
Francis
Moody Foundation
St.
Fellowship
Louis, Missouri
and Caryn Powers Fellowship
Camille Kowash, Roseburg, Oregon
Mildred A. Leinbach Fellowship
Composers
Suzanne Loerch, New Fairfield, Connecticut
Mr. and Mrs. Leonard Kandell and
Derek Beimel, New Rochelle, New York
DeWitt Wallace/Reader's Digest Fund Fellowship
Carol
Ken Hesketh, Wimbledon, London, England
Leonard Bernstein Fellowship
Bee Tuan Joyce Koh, Singapore, Singapore
Otto Eckstein Family Fellowship
Karen Markham, Wolverhampton, England
Benjamin Britten Memorial Fellowship
Andrew McBirnie, West Hampstead,
London, England
Ann and Gordon
Getty Foundation Fellowship
Ketty Nez, Albany, California
Aaron Copland Fund for Music Fellowship
Carlos Sanchez-Gutierrez, Jalisco, Mexico
Omar del
Carlo Fellowship
Chamber Ensemble Residency
Arianna Quartet
Kurt Baldwin, DeKalb,
Fdward
Mahoko
Illinois
S. Brackett, Jr. Fellowship
Eguchi, DeKalb,
Illinois
John H. Knowles Memorial Fellowship
Rebecca Rhee, Honolulu, Hawaii
Dr.
Haskell Gordon Memorial Fellowship
Sarah Lhornblade, Boston, Massachusetts
Mr.
and Mrs.
Belvin Friedson Fellowship
Henschel Quartet
Mathias Beyer, Fischbachau-Aurach, Germany
Monika Henschel, Fischbachau-Aurach, Germany
Markus Henschel, Fischbachau-Aurach, Germany
Christoph Henschel, Fischbachau-Aurach,
Alice Kandell Fellowship
Ann Manzi, Rocky Hill, Connecticut
Abby and Joe Nathan Fellowship
Irina Mozyleva,
Minsk, Belarus
and Mrs. Victor P Levy Fellowship
Mr.
Kelley Nassief, Beaverton,
-
Oregon
Bernice and Lizbeth Krupp Fellowship
Melody Racine, Birmingham, Michigan
Ann and Gordon Getty Foundation Fellowship
Vocal Coaches
Chien Chou, Toronto, Ontario, Canada
Donald Bellamy
Jonathan Faiman,
Sinclair
Memorial Fellowship
New York, New York
Mrs. Peter LB. Lavan Fellowship
Caren Levine, New York, New York
Harry Stedman Fellowship
Ania Marchwinska, Warsaw, Poland
Ruth and Jerome Sherman Memorial Fellowship
New York
JJ.Penna, Bingham ton,
Marie
Gillet Fellowship
Cameron Stowe,
Danville, Virginia
Paul Jacobs Memorial Fellowship
Valerie Trujillo, Tallahassee, Florida
Selma Pearl and
Susan and Richard Grausman Fellowship
David Zobel, Toulouse, France
Lia
and William Poorvu Fellowship
Phyllis Curtin
Seminar
for Singers
Sarah Asplund, Novato, California
Stuart Haupt Scholarship
Gina Beck, Saskatoon, Saskatchewan, Canada
Eugene Cook Memorial Scholarship
Amber
Bishop, Fredericton,
Germany
New
Dorothy and Montgomery Crane Scholarship
Brunswick, Canada
Johanna
Cabili, Iligan,
The Philippines
Tina Winter, Etobicoke, Ontario, Canada
William E Crojut Family Scholarship
Boston Symphony Orchestra Scholarship
Ohio
Jennifer Cobb, Cincinnati,
Lori Zeglarski, Roselle Park,
and Millard Pryor Scholarship
Benjamin Cole, Somerville, Massachusetts
Claire
Mu
New Jersey
Phi Epsilon Claudette Sorel Scholarship/
Richard
E Gold Memorial
Scholarship
Leah Jansizian Memorial Scholarship
Ten Drinkwater, Des Moines, Washington
Karen Frankenstein,
Gilles Gallot,
Amy
Choisy
New York, New York
Gordon, Milwaukee, Wisconsin
Cynthia
L.
David Arrivee, Brighton, Massachusetts
William and Mary Greve Foundation Fellowship
Spark Scholarship
Daniel Gurvich, Rochester,
New York
Ching-Po Paul Chiang, Taipei, Taiwan
Renee Hoffman, Corona del Mar, California
Pamela Jones, Northampton, Massachusetts
Olivetti
Theodore Edson Parker Eoundation Scholarship
Mariateresa Magisano, LaSalle, Quebec,
Canada
Tisch Foundation Scholarship
Carol Mastrodomenico, Syosset,
Berkshire County Savings
New York
Bank Scholarship
Marie McPhail, Atlanta, Georgia
Denise Milner, Brockport,
New York
Tanglewood Programmers and Ushers Scholarship
Kristin Reiersen, Staten Island,
New York
Maurice Ahravanel Scholarship
Federico Cortese, Rome, Italy
H. Smith Scholarship
Sarah Jorgenson, Allston, Massachusetts
Ann
Edward and Joyce Linde Scholarship
Michael Christie, West Seneca,
Mary
Christian Arming, Vienna, Austria
Leonard Bernstein Fellowship
France
le Roi,
Conducting Class
New York
Jody Sheinbaum, Morganville, New Jersey
Pearl and Alvin Schottenfeld Scholarship
Bethany Tammaro, Warwick, Rhode Island
Evelyn and Phil Spitalny Scholarship
Kimbo
Seiji
Foundation Fellowship
Ishii-Eto,
Ozawa
New York, New York
Fellowship
Soohak Seikyo Kim, Boston, Massachusetts
Martin Lebel, Neuilly sur Seine, France
Florence Gould Foundation Fellowship
Christoph Mueller, Zurich, Switzerland
Merrill Lynch Fellowship
Victor Puhl, Paris, France
Florence Gould Foundation Fellowship
Nicolas Waldvogel, Meinier, Switzerland
Koussevitzky Music Foundation Fellowship
David Wiley, Bloomington, Indiana
William and Mary Greve Foundation Fellowship
A Musical Partnership
The Boston Symphony Orchestra salutes the Baldwin Piano
Company, which has provided pianos for young musicians and
professional artists at Tanglewood for more than a half-century
Tanglew®d
Music
Center
Boston Symphony Orchestra 1994-95
Seiji
Ozawa, Music Director
Music Directorship endowed by John Moors Cabot
Vyacheslav Uritsky
First Violins
Assistant Principal
Malcolm Lowe
Charlotte
Concertmaster
Charles
Munch
endowed
chair,
W Rabb
in perpetuity in
1977
*
Helen Horner Mclntyre chair,
endowed in perpetuity in 1976
Assistant Concertmaster
Enid L. and Bruce A. Beal chair,
endowed in perpetuity in 1 980
Laura Park
Edward and Bertha
C
*Si-Jing
Rose chair
*
Bo Youp Hwang
John and Dorothy Wilson
fully funded in perpetuity
Nicole
Robert Bradford
Newman
Carol Procter
Lillian and Nathan
* Ronald
chair,
chair
R. Miller chair
Feldman
Charles and Joanne Dickinson chair
*Jerome Patterson
*Jonathan Miller
Huang
Monahan
*Owen Young
John E Cogan,Jr., and
§ Gerald Elias
chair,
Paine
E.
Luis Leguia
*Tatiana Dimitriades
Assistant Concertmaster
Robert Ripley
Ronan Lefkowitz
*Jennie Shames
^Valeria Vilker Kuchment
and
and Joseph M. Shapiro chair
Richard C. and Ellen
Joseph McGauley
Leonard Moss
*Jerome Rosen
* Sheila Fiekowsky
Associate Concertmaster
S.
Joel Moerschel
Sandra and David Bakdlar chair
chair,
Edgar and Shirley Grossman chair
Tamara Smirnova
L. Beal,
Irving
Knudsen
Esther
Ronald Knudsen
Robert
and
Sato
Mary
Cornille chair
§Lisa Crockett
Lucia Lin
Basses
Forrest Foster Collier chair
Edwin Barker
Violas
Leo Panasevich
Carolyn and George Rowland chair
Gottfried Wilfinger
Dorothy Q. and David B. Arnold,
chair, fully funded in perpetuity
Principal
§Rebecca Young (7/24-8/27)
Harold D. Hodgkinson
Guest Principal
Charles S.
Jr.,
endowed
endowed
Dana
chair,
in perpetuity in
chair,
in perpetuity in
1974
Lawrence Wolfe
1970
Assistant Principal
Alfred Schneider
Muriel
Kasdon
and Marjorie
Paley chair
Burton Fine
C
C
Raymond
Maria Nistazos Stata
Acting Assistant Principal
Anne Stoneman
chair,
Lois
Robert Barnes
Amnon
Joseph Pietropaolo
Michael Zaretsky
Levy
W
* Harvey Seigel
* Nancy
Bracken
*Aza Raykhtsaum
* Bonnie Bewick
Joseph and Jan Brett Hearne chair
Olson
*James Orleans
*Todd Seeber
*John Stovall
* Dennis Roy
Fagerburg
* Edward
John Salkowski
* Robert
Marc Jeanneret
fMark Ludwig
* Rachel
Gazouleas
§ Nicolas
*Kazuko Matsusaka
§ Susan Culpo
*James Cooke
Romanul
§
* Catherine
and Harlan Anderson chair
Ikuko Mizuno
Theodore
and Evelyn Berenson
Family chair
Leith Family chair,
Ronald Wilkison
Ruth and Carl Shapiro chair,
* Vic tor
Joseph Hearne
Sird
Elizabeth Ostling
Acting Principal
Walter Piston
Cellos
Marylou Speaker Churchill
Principal
endowed
Participating in a system of rotated
seating
sabbatical leave
^Substituting, Tanglewood
1995
in perpetuity in 1
1970
Myra and Robert Kraft chair,
Philip R. Allen chair,
endowed
chair,
in perpetuity in
Fenwick Smith
Jules Eskin
Principal
Fahnestock chair
$On
Tsolainos
Flutes
Emily Bruell
French
Second Violins
*
chair,
969
Martha Babcock
Assistant Principal
Marian Gray Lewis
Assistant Principal
Vernon and Marion Alden chair,
chair,
\
Catherine Payne
Associate Principal
Geralyn Coticone
Evelyn and C. Charles
chair,
Harps
Richard Sebring
Piccolo
endowed
Marran
in perpetuity in
Ann Hobson
Margaret Andersen Congleton
Pilot
Principal
Willona Henderson Sinclair chair
Daniel Katzen
1979
chair,
Sarah Schuster Ericsson
Elizabeth B. Storer chair
Oboes
Jay Wadenpfuhl
Richard Mackey
Alfred Genovese
B.
endowed
Remis
in perpetuity in
1975
William Shisler
James Harper
Trumpets
Charles Schlueter
Principal
Assistant Principal
Assistant Conductors
Roger Louis Voisin
endowed
Horn
Peter
chair,
in perpetuity in
1977
Chapman
Timothy Morrison
chair,
R.
Trombones
Hudgins
Principal
endowed
§Julie
Stage
Ronald Barron
Ann S.M. Banks
chair,
in perpetuity in
Principal
1977
Vaverka
].P and
Mary
B.
Barger
chair,
Harold Harris
Douglas Yeo
Tuba
Chester Schmitz
Margaret and William
Rousseau chair,
Bassoons
C
Richard Svoboda
Timpani
Principal
Edward A. Taft chair,
endowed in perpetuity
in
1974
Everett Firth
Sylvia Shippen Wells chair,
Roland Small
endowed
in perpetuity in
1974
Richard Ranti
Associate Principal
Percussion
Thomas Gauger
Contrabassoon
Peter
Gregg Henegar
Peter
Andrew Lurie
chair
William Hudgins
Timothy Genis
J.
Charles Kavalovski
Assistant Timpanist
Principal
Helen Sagoff Slosberg
chair,
Frank Epstein
Horns
endowed
and Anne Brooke
Helen Rand Thayer chair
chair,
in perpetuity in
1974
L. Russell
Stage Assistant
Bass Trombone
Craig Nordstrom
Farla and Harvey Chet
Krentzman chair,
endowed by
Angelica
Bolter
& E-flat clarinet
Bass Clarinet
Manager
Position
Peter Riley Pfitzinger
Norman
Thomas Martin
Associate Principal
Finnerty chair
Lynn Larsen
Bruce M. Creditor
Rolfs
Clarinets
William
E.
Personnel Managers
Associate Principal
Thomas
Thomas Dausgaard
David Wroe
Anna
Ford H. Cooper chair
Robert Sheena
Beranek
Principal
chair,
Wayne Rapier
Keisuke Wakao
English
Marshall Burlingame
Jonathan Menkis
Principal
Mildred
Librarians
Boston University Tanglewood Institute
Bruce MacCombie, Dean, Boston University School for the Arts
Christopher Kendall,
Director,
Leslie
Wu
Young
Artists Orchestra
Music Division
Foley, Administrator
and
Chamber Music Program
Isaac Weiner, Newton,
OH
MA
Stephen Dress, Londmeadow,
Violin
Eric
Sarah Asmar,
Thomas
W Simsbury, CT
Elise Dalleska,
New
Dan
MN
Brighton,
Marcelo Fujimoto, Cleveland Hts,
OH
NY
Myung,
Emily Pan, Cedar
NY
N]
Knolls,
Natick,
Jean Park, Lexington,
MA
MA
Sammon,
Coxsackie,
VA
NY
Masami Stampf, Shoreham,
Huntsville,
AL
Viola
Isabel O'Meara, Northport,
NY
Julie Giattina, Birmingham,
AL
Andrea Gildea,
MA
Cincinnati,
OH
Melinda Hirsch, Deer Park,
NY
Dana Lawson,
MA
Hyannisport,
Molly Murphy, Bradenton, FL
Mendham, NJ
Hannah Richmond, Newton,
Jennifer Resh,
MA
Karoline Schwartz, Mt. Kisco,
Mercy
NY
Vaillancourt, Woonsocket, Rl
Soprano
Clarinet
NJ
Noble Hansen, Longmeadow,
MA
Patricia
Michelle
Cilia,
New Hyde
Montvale,
Exeter,
Bemardine
Hyun-Jee Kim, New
Kala
OR
Freeport,
Emily Mace, Saratoga,
MA
Allison Jones, Canton,
MA
York,
Maxym, South
OH
Kathryn Mueller,
Andrea
NY
Violoncello
Veronica Parrales,
VA
Smithfield, Rl
Pizziconi, Concord,
NJ
York,
Deniz Sarikaya, Udhailiyah, Saudi
Trumpet
Alison White, Millsboro,
New York, NY
Daniel Lee, Vienna, VA
Robert Singer, Reston, VA
Katherine White, Sylvania,
Arabia
Edward
Castro,
Michael Zonshine, Agoura
Hills,
DE
Joshua Aerie, Monterey,
MA
CA
Kimberly Adderly, Miami, FL
Hsu,
Portland,
OR
NY
West Linn, OR
Kelley Maulbetsch, Atherton,
Rebecca
Tsai, Lexington,
MA
Krista
Boone, Davis,
Allison
CA
Cimmet, Scarborough,
ME
ME
CA
MD
Tuba
Rachel Frank, Potomac,
Charles Giannelli, Glen Rock, NJ
Ashley Hall, Birmingham,
Craig Leffer, Rockville Centre,
Morgan Magionos,
MA
MN
CA
CA
Hts.,
Rebecca Comerford, Kennebunk,
Jordan Brown, Sarasota, FL
Isaiah
William Sullivan, Plymouth,
OH
Alto
Heidi Biang, Hacienda
David Newcomb, Brooklyn Park,
NY
MA
Forest, IL
Jeremy Thai, Madison, Wl
Trombone
New
ME
MA
Lee,
Evelyn Pollock, Lake
CA
NY
Millinocket,
Sarah Moran, Abingdon,
MA
Katherine Higgins, Wadsworth,
Alexander Kahn,
NH
WA
NY
Ileto, Jericho,
Suzanne Lommler,
Kimberly Hamill, Sudbury,
CT
NJ
Brittany Hopkins, Spokane,
GA
Carlisle,
Feiler,
Rebecca Garrison,
MD
Wlodzimierz Kossak, Warsaw, Poland
Molalla,
NY
Park,
Lauren D'Ambruoso, New Haven,
Dusold, Glenn Dale,
Ryan Brady,
NY
Ilion,
Min Chung,* Seoul, Korea
Mandy
Hazel Malcolmson,
Italy
Julie Buck, Champaign, IL
Chicago, IL
CT
NY
P/easanrville,
Rome,
Bell,
Allison Benter, Pasadena,
Jennifer Kuhn, Chatham,
Program
Artists Vocal
Eleanor Aversa,*
Horn
Colin Benn, Newton,
Young
Margaret
Kiyoaki Kojima, Atlanta,
CT
William Stadel, Stamford,
J
NY
Bassoon
NY
Elizabeth Sapir, Charlottesville,
Sayumi Takahashi,
Islip,
Val Feygin, Stamford,
Roberts, Hawthorn,
Victoria, Australia
Erin
Geoffrey Deemer,
Anthony McGill,
AZ
Michi Regier-Glose, Mesa,
GA
*Harp Seminar
tYoung Artists Piano Program
Andrea Brenon,
Monica Ransom, Farmington, CT
Cameron
Piano
David Connors,! Athens,
MA
Yarmouthport, MA
Jerry Chai, Leonia,
CA
Lillian Pierce, Fallbrook,
MA
Bensdorf, Evanston, IL
Maryn Longobardo,
Anthony Papandrea,
NY
Laura Chamberlain, Lexington,
MA
Cheryl Padula, Rockville Centre,
Naomi
MA
Carolyn Strashum,* Scarsdale,
Rebecca Clossick, Havertown, PA
Oboe
FL
NJ
Huhn * Berlin, Germ.
Sevy* Houston, TX
Katherine Winchell, Aurora, IL
Lauderdale,
Ft.
Emily Packard, Cambridge,
Vineland,
Franziska
Elizabeth Phelps, Naperville, IL
MA
MA
Methuen, MA
MA
Harp
Ingrid
Christina Eosco, Norwood,
Christopher Lee, Newton,
Newman,
OH
Greg Watkins, Manassas, VA
Flute
York,
Matthew Witten,
Catherine Barrett,*
Great Bamngton,
Lehrich, Princeton Jet., NJ
Benjamin Park, Chardon,
David Mish, Longmeadow,
Alissa
NJ
Lawrenceville,
DC
Abby Gilbert, Washington,
Andy Homg, Orange, CT
Christopher Jenkins, New
Nancy Kuo, Mesa, AZ
Meg Lanfear, Reston, VA
Jennifer
Bemasek,
Greg Lawson, East Brunswick, NJ
Carney, Voorhees, NJ
MA
Samuel Solomon, Sharon,
Double Bass
Matt Heintz, Cincinnati,
AL
Tara Hunnewell, Middleboro,
Percussion
Lisa Lynch, Luzerne,
Paul Fadoul, Annandale,
Benjamin Fox,
Foster,
RI
VA
MA
PA
Rebecca Marques, Chelmsford,
Brenda Patterson, West
Chester,
MA
PA
Anna Raykhtsaum,
Jami
CA
MD
Jan Majer, Annapolis,
Victor Nash, Ashland,
NY
Tyzik, Rochester,
YAO
OR
Kevin Tracy, San Diego,
Joseph Wright, Young Artists
CA
Orchestra
Geoffrey Ward, Brampton,
Anthony Accino, New Canaan, CI
Michael Batsford, Smithfield, RI
Ontario,
Canada
YAO
Rian Wilkinson, Peoria, IL
NY
Paul Berry, * Rochester,
Horn
Matthew Farmer, Lantana, FL
Melissa McCarthy, Orchestra
Nancy
WA
MA
Cahall, Georgetown,
OH
Joel Gillespie, Vancouver,
Robert Hasegawa, Hamilton,
Jonathan Jao, Weston,
Anne Howarth,
Sean Kirsch, Mesa,
AZ
Timothy O'Sullivan,
Pooh
MA
Milton,
Jason Rochelle, Hudson,
Jason Sabol,* Auburn,
Rochester
Merritt, Allston,
Librarian
NY
Ml
Hills,
MA
Rebecca Rucker, Coon Rapids,
MN
Richard Denton, Monroe,
AL
Sean Anderson, Akron,
YAVP
Douglas Fletcher, Chardon,
OH
Andrew
Corsott"
Justin Falxa, Cambridge,
Alto,
Matthew Holloway, Holden, MA
Aaron Jackson,* Princeton, NJ
Joseph
Kaiser, Scarsdale,
NY
Gregory Spears,*
Andrew
Campbell Stewart, New
Amanda McConoughey,
Seville,
Jonathan Schmid, Media, PA
VA
DiBattista
Linda Osborn-Blaschke
Amy Schneider
Scottsdale,
AZ
Lever, Tubingen,
YAPP
MA
Timothy McGrath, Smithtown,
Mark
Matthew
Shinobu Takagi
Nathan Johnston,
NJ
York,
Eric Chalfant
MA
OH
E. Brookfield,
Peter Lillpopp, Dalton,
Virginia Beach,
Stewart, Hillsdale,
Staff
Stephen Bomgardner
Tuba
Michael Maizner, Plantation, FL
Director,
Kathryn Boline
Canada
William Lombardelli,
CA
New Canaan, CT
William Fleming,* Palo
Patrick Heijmen,
MA
OH
Laubstein, Ottawa,
Ontario,
Hoffman, Director
CT
(Euphonium)
Sheffield,
Faculty
Phyllis
Young Artists Chorus
Trombone
MA
YAVP
Ann Howard Jones,
NY
Bass
Chris Anderson, t
Staff
Kerry Floyd, Orchestra Manager
MA
Quentin Chu, Newton,
John
Chamber Music Program
MA
Nicholas Snaith, Townsend,
Tenor
Faculty
Bayla Keyes, Young Artists
Charles Porter, Lake Worth, FL
MA
Webb, Cambridge,
Jennifer
MA
Brookline,
Laurie Rubin, Encino,
NY
Faculty
Maria Clodes Jaguaribe, Director
Claude LaBelle, Assistant Director
Germany
NY
Che-Yu Wang, Yokohama, Japan
Tanglewood
Harp Seminar Faculty
Institute
Lucile Lawrence, Director
*Young
Artists
Composition
Staff
Program
t Young Artists
ttBUTI
Piano Program
Leslie
Wu
YACP
Foley, Administrator
Krishna Faust, Director oj Scheduling,
Staff
Senior Staff Assistant
Atlantic Brass
Akemi
Seminar
Daniel Blankinship, Midlothian,
Tiffany Cantor, Springfield,
James Falcone,
Bedford,
VA
VA
Nova
Canada
This roster includes
Thomas
Graves, Office Assistant
Jonathan Newman,
Trumpet
Office Assistant
John Corso, Office Intern
Kit McGinn, Associate Director
Ann
oj
Mickle, Director of Operations,
West Street Campus
BUTI students and
Williams, Assistant
Director
Housing, Boston University
Scotia,
Faculty
Richard Cornell, Director
faculty represented in
The Boston University Tanglewood
Stage
Management
Keith Elder, Manager
Michael Cormier
Panayotis Mavromatis
Tanglewood on Parade 1995
Institute
1995 marks the 30th season of the Boston University Tanglewood Institute. Since 1966, the
Boston University Tanglewood Institute has been a summer program of Boston University and the
Tanglewood Music Center. The Institute includes four Young Artists Programs for students ages
15 to 18 (Instrumental, Vocal, Piano, and Composition), six Institute Seminars for students ages
15 and older (Flute, Harp, Clarinet, Atlantic Brass, Saxophone, and Listening and Analysis), and
the Adult Music Seminars. Many of the Institute's students receive financial assistance from funds
contributed by individuals, foundations, and corporations to the Boston University Tanglewood
Institute Scholarship Fund. If you would like further information about the Boston University
Tanglewood Institute, please stop by our office on the Leonard Bernstein Memorial Campus on
the Tanglewood grounds, or call (413) 637-1430.
Additional Acknowledgments
The Tanglewood Music Center acknowledges with
gratitude the following gifts to
underwrite faculty positions in 1995:
Bowles Chair—Fenwick Smith,
—Eugene Lehner,
Culpeper Foundation Chair—
Chairman
Charles
Faculty
Sanford N.
—
Curtin
Renee Longy
Jane and John Goodwin — Dennis Heimlich, vocal
Dr.
and Mrs. Edward
flute
L.
Richard Burgin Chair
viola
Gilbert Kalish,
E.
of the
Fisher Artist-in-Residence
Phyllis
Chair, a gift of
music coach
Marian Douglas Martin Chair, endowed by Marilyn Brachman Hoffman
Peter Serkin, piano
—Norman
W Richmond Foundation Chair—Joel Krosnick,
Sana H. Sabbagh and Hasib
Sabbagh Chair— Gustav
Surdna Foundation Chair— Edwin Barker double bass
Beatrice Sterling Procter Chair
Fischer, cello
Frederick
cello
Meier, conductor
J.
The following endowed funds provide extraordinary support
of the Tanglewood Music Center:
for the teaching activities
Louis Krasner Fund, established by Marilyn Brachman Hoffman
Eleanor Naylor Dana Visiting Artist
Fund
Paul Jacobs Memorial Commissioning Fund
•
also
acknowledges with gratitude
which has provided loudspeaker
Ozawa Hall throughout the 1995
the generosity of the Bose Corporation,
systems for performances in
Seiji
Tanglewood season
•
TDK Electronics
Corporation, for the donation of audio cassettes for use in
recording
National
Endowment
is
also
supported in part through a grant from the
for the Arts.
Cover design by Karen Magane
Tanglew®d
Music
Center
Present this program at Estee Lauder
counter at Rlene's Berkshire Mall for
your complimentary 10-minutetan
consultation and a deluxe miniature
Self-Action SuperTan for Face.
SHOP OUR NEW STORE AT THE BERKSHIRE MALL
E

Boston Symphony Orchestra concert programs, Summer

Transcrição

Documentos relacionados

Project: NORTE-01-0145-FEDER-000008 – Porto

Project: NORTE-01-0145-FEDER-000008 – Porto

application form

View/print a copy of the Bulletin for this service

PDF - Instituto de Medicina Molecular

grants from Jordan - the group

English-LessonsApplication-Blank

THE STATE OF THE WORLD ECONOMY

application form 2016

resume